The Program Note

The following is the official dramaturg's note from the program.

As Desire Under the Elms begins, “Eben Cabot enters, […] puts his hands on his hips and stares up at the sky. He sighs with a puzzled awe and blurts out with halting appreciation. ‘God! Purty!’” Eben enters the play bearing the troubles of the world on his back. He is haunted by the loss of his mother, torn between two cultures, and facing insurmountable economic hardship. And yet, his burdens momentarily drop away in the face of such a breathtaking landscape. This is the devastating world that Eugene O’Neill paints for us. In this production, we have moved the setting to 1928 in the Ozark Mountains. Director Randy Reinholz hails from this area and sees a connection between the Missouri he knows and O’Neill’s portrayal of a community affected by poverty. In this town, we find that from extreme poverty comes extreme cruelty. Eben demonstrates and defines the constant conflict between life’s harshness and its beauty, what is hard and what is soft. As you watch, you will see the cycles of abuse, greed, and poverty as people try to hold on to their culture. If it is not possible to find a balance between tradition and a more just world, then we are fated to repeat our mistakes. The characters in our play walk that fine line.

Scenic Designer Featured in School Newletter

SPOTLIGHT ON STUDENT SUCCESS

College of Professional Studies and Fine Arts

School of Theatre, Television, and Film

Andrew Hull

The work of Andrew Hull was prominently displayed during The Greg Mortenson lecture on “Three Cups of Tea” for SDSU Family Weekend. Andrew, a second year MFA set design student, created and designed the approximately 10’ x 30’ mural that hung as a backdrop for the lecture.

Andrew began his design work in spring 2008 and created the piece over the course of the summer. Andrew’s work is not new to SDSU. He designed sets for the 2007 production of Hamlet, Blood on the Brain and this year’s, Desire Under the Elms.

Desire Under The Elms is Much More Than Just Desirable at SDSU

By Robert Hitchcox

Eugene O'Neill gave birth to Desire Under the Elms in 1924, placing it in rural New England. The 1958 film version starred Sophia Loren, Anthony Perkins, and Burl Ives. Under director Randy Reinholz, the San Diego State University version, currently in the Experimental Theatre, moves the action to rural Ozark Mountains. This logically allowed for some excellent story-telling guitar music.

The playwright brings the themes of classic Greek tragedy (revenge, lust, love, hate, greed, trust, murder, and the tragic consequences that ensue) to the American scene. The plot pits the three brothers (Simeon, Peter, and Eben) against their father (Ephraim), forming a formidable broth. Stir in the juices of brother against brother as Simon and Peter (from wife one) vie against Eben (from wife two). For spice, stir in a very young wife three, Abbie, who beds Eben, becomes pregnant by him and claims it is husband Ephraim's. Throw in the field crops of the family farm's inheritor(s) and one gets a fatal soup.

I expect the very best out of the theatre departments of SDSU and UCSD and I have yet to be disappointed. Andrew Hull's set has a dirt-poor raggedy feel. This is further enhanced by Sarah Leahy's drab gray-on-gray costumes. Even in a dance scene, there is very little color in the women's wear and none in the men's. Ashley Johnstone provided us with a subdued lighting plot, while Michelle Caron's sound design further enhanced the mood.

Justin Hobson's Eben is near-perfect. His stature is such that the two older brothers, Simeon and Peter (Bobby Schiefer and Phil Kruse) physically intimidate Eben. One hopes he wore some padding. Unlike his farmhand brothers, he takes care of the house chores (cooking, cleaning, laundry, et al). He is wilier and much smarter, soon ridding the farm of his brothers to become the sole heir.

His logic is shattered when his abusive father, Ephraim (Tony Quezada), returns home with a new bride and heir. Quezada is a perfect contrast to Hobson; Ephraim must have a PhD in bullying making him a perfect villain. This is not the man you want to meet on a moonless night. Quezada proves, under Choreographer Krysten Hafso's, that he can dance a jig with the best of them.
The fly in this over-seasoned soup is third wife Abbie Putnam (Pamela Sevilla).

The original acrimony between Abbie and Eben is almost violent. Soon, though, an unbridled passion develops. In many ways, this is Abbie's story as much as that of the three sons and their father. Sevilla's very presence on the stage commands it. Even as wild dancing progresses behind her, her sullen quiet rules. Her character is tragic, her portrayal is perfection.

This is an excellent production throughout. The move from 1928 rural New England to 1928 rural Ozark Mountains works well. O'Neill at his best, SDSU Theatre at their best . . . a great combination. It's a short run, I hope you have a chance to see this production.

Desire Under the Elms plays Tuesday thru Sunday, closing October 5, 2008. For information and tickets dial 619 594-6884 and go on line to www.theatre.sdsu.edu.

Cast: Justin Hobson, Bobby Schiefer, Phil Kruse, Tony Quezada, Pamela Sevilla, Carolyn Henderson, Jim Capela, Haley Bishop, Julia Jacobo, Christopher Wollman

Technical Staff: Scenic Design Andrew Hull, Lighting Design Ashley Johnstone, Sound Design Michelle Caron, Costume Design Sarah Leahy, SM Chandra McColgan, Dramaturge Joan Marie Hurwit, Vocal Coach/Choreographer Krysten Hafso

Critic: Robert Hitchcox
Dates: Tuesday thru Sunday, to October 5, 2008

Robert Hitchcox is a playwright, critic and fiction author.

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I finally got my hands on several production photos!

Here are several of the production photos from Desire! These pictures only begin to show the gorgeous aesthetic of the overall design.

The set lent itself to so many different locations, was an amazing and creative space for the actors and fellow designers to work in, and was, literally, a piece of art. The light design, particularly featured here, was so innovative: conscious of space and time, reflective of mood, a character unto itself... and again, art. These designers worked seamlessly together, balanced each other, and truly enhanced this production beyond conceivable thought. Without them, such poverty and catastrophe could have never also achieved such beauty.

Set: Andrew Hull
Lights: Ashley Johnstone